text:
SCHEME FOR PROVIDING AUDIO EFFECTS FOR A MUSICAL INSTRUMENT AND FOR CONTROLLING IMAGES WITH SAME
A method for use with a musical instrument includes receiving a signal representative of a sound produced by the musical instrument, receiving a selection of an audio effect from a wireless controller, applying the audio effect to the signal representative of a sound produced by the musical instrument, and providing an output signal representative of the audio effect applied to the sound produced by the musical instrument. Other methods include causing an image to be responsive to a signal representative of motions of the musical instrument, and causing an image to be responsive to a signal representative of sound produced by the musical instrument. A computer readable storage medium may store a computer program adapted to cause a processor based system to execute the steps of any one or more of these methods.
Villa, Mark Francis (San Diego, CA, US)
Zalewski, Gary M. (Oakland, CA, US)
SONY COMPUTER ENTERTAINMENT AMERICA INC. (Foster City, CA, US)
G10H1/00
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WARREN, DAVID S
Fitch, Even, Tabin & Flannery, LLP (120 South LaSalle Street Suite 2100, Chicago, IL, 60603-3406, US)
1. A computer readable storage medium storing a computer program adapted to cause a processor based system to execute steps comprising: receiving a signal representative of a sound produced by a musical instrument; receiving a selection of an audio effect from a wireless controller, wherein the wireless controller is coupled to the musical instrument and includes a motion sensing capability; applying the audio effect to the signal representative of a sound produced by the musical instrument; providing an output signal representative of the audio effect applied to the sound produced by the musical instrument; receiving a signal from the wireless controller representative of motions of the musical instrument as the musical instrument is played by a user; and causing a displayable image representative of the user playing the musical instrument to be responsive to the signal representative of motions of the musical instrument.
2. The computer readable storage medium of claim 1, wherein: the wireless controller comprises a game controller; and the steps of receiving a signal, receiving a selection, applying the audio effect, and providing an output signal are performed by a game console.
3. The computer readable storage medium of claim 1, wherein: the image comprises an avatar playing a representation of the musical instrument; and the step of causing the displayable image representative of the user playing the musical instrument to be responsive to the signal representative of motions of the musical instrument comprises: causing the representation of the musical instrument played by the avatar to substantially track the motions of the musical instrument as the musical instrument is played by the user; and causing the avatar to move with movements of the representation of the musical instrument played by the avatar.
4. The computer readable storage medium of claim 1, wherein the computer program is further adapted to cause the processor based system to execute a step comprising: displaying in an online community images that are representative of one or more additional players interacting with the displayable image that is representative of the user playing the musical instrument.
5. A computer readable storage medium storing a computer program adapted to cause a processor based system to execute steps comprising: receiving a signal representative of sound produced by the musical instrument as the musical instrument is played by a user; generating an image for display that is representative of the user playing the musical instrument; and causing the image to be responsive to the signal representative of sound produced by the musical instrument.
6. The computer readable storage medium of claim 5, wherein: the image comprises an avatar playing a representation of the musical instrument; and the step of causing the image to be responsive to the signal representative of sound produced by the musical instrument comprises: deciphering what user manipulation of the musical instrument is required to create the sound produced by the musical instrument; and causing the avatar to mimic the deciphered user manipulation of the musical instrument on the representation of the musical instrument.
7. The computer readable storage medium of claim 5, wherein the computer program is further adapted to cause the processor based system to execute steps comprising: receiving a signal representative of motions of the musical instrument as the musical instrument is played by a user; and causing the image to be responsive to the signal representative of motions of the musical instrument.
8. The computer readable storage medium of claim 5, wherein the computer program is further adapted to cause the processor based system to execute a step comprising: displaying in an online community the image that is representative of the user playing the musical instrument.
9. The computer readable storage medium of claim 5, wherein the computer program is further adapted to cause the processor based system to execute a step comprising: displaying in the online community images that are representative of one or more additional players interacting with the image that is representative of the user playing the musical instrument.
This application claims the benefit of U.S. Provisional Patent Application No. 60/981,375, filed Oct. 19, 2007, entitled "SCHEME FOR PROVIDING AUDIO EFFECTS FOR A MUSICAL INSTRUMENT AND FOR CONTROLLING IMAGES WITH SAME," the entire disclosure of which is hereby incorporated by reference herein in its entirety.
The present invention relates generally to musical instruments, and more specifically to sound effects used with musical instruments and image control.
2. Discussion of the Related Art
Musicians have been utilizing effects units to dynamically alter the sound of an instrument to create a specific listening environment when placed in the electrical signal path of an instrument. For example, electric guitars are often used in conjunction with foot effects pedals (sometimes called "stomp boxes"), which the guitarist presses with his or her foot to change the characteristics of the sounds produced by the guitar.
Tremolo, delay, echo, distortion, fuzz, overdrive, and wah-wah are a few examples of the different sound effects which may be applied by such an effects pedal or unit. In addition to electric guitars, effects pedals and units may also be employed by other types of musical instruments, such as acoustic guitars, bass guitars, pianos, keyboards, pipe organs, drums, harps, etc. Such effects may even be applied to the voice of a vocalist.
It is with respect to these and other background information factors that embodiments of the present invention have evolved.
Several embodiments of the invention provide a method for use with a musical instrument. In one embodiment, the method for use with a musical instrument comprises receiving a signal representative of a sound produced by the musical instrument, receiving a selection of an audio effect from a wireless controller, applying the audio effect to the signal representative of a sound produced by the musical instrument, and providing an output signal representative of the audio effect applied to the sound produced by the musical instrument.
In another embodiment, the invention can be characterized as a method for use with a musical instrument. The method for use with a musical instrument comprises receiving a signal representative of motions of the musical instrument as the musical instrument is played by a user, generating an image for display that is representative of the user playing the musical instrument, and causing the image to be responsive to the signal representative of motions of the musical instrument.
In a further embodiment, the invention may be characterized as a method for use with a musical instrument. The method for use with a musical instrument comprises receiving a signal representative of sound produced by the musical instrument as the musical instrument is played by a user, generating an image for display that is representative of the user playing the musical instrument, and causing the image to be responsive to the signal representative of sound produced by the musical instrument.
In some embodiments, the present invention provides a computer readable storage medium storing a computer program adapted to cause a processor based system to execute the steps of any one or more of the above-mentioned methods.
For example, in some embodiments the present invention provides a computer readable storage medium storing a computer program adapted to cause a processor based system to execute steps comprising: receiving a signal representative of a sound produced by a musical instrument; receiving a selection of an audio effect from a wireless controller; applying the audio effect to the signal representative of a sound produced by the musical instrument; and providing an output signal representative of the audio effect applied to the sound produced by the musical instrument. In some embodiments, the wireless controller is coupled to the musical instrument and includes a motion sensing capability, and the computer program is further adapted to cause the processor based system to execute steps comprising: receiving a signal from the wireless controller representative of motions of the musical instrument as the musical instrument is played by a user; and causing a displayable image representative of the user playing the musical instrument to be responsive to the signal representative of motions of the musical instrument.
As another example, in some embodiments the present invention provides a computer readable storage medium storing a computer program adapted to cause a processor based system to execute steps comprising: receiving a signal representative of sound produced by the musical instrument as the musical instrument is played by a user; generating an image for display that is representative of the user playing the musical instrument; and causing the image to be responsive to the signal representative of sound produced by the musical instrument.
A better understanding of the features and advantages of various embodiments of the present invention will be obtained by reference to the following detailed description and accompanying drawings which set forth an illustrative embodiment in which principles of embodiments of the invention are utilized.
The above and other aspects, features and advantages of embodiments of the present invention will be more apparent from the following more particular description thereof, presented in conjunction with the following drawings wherein:
FIG. 1A is a diagram illustrating a system that operates in accordance with an embodiment of the present invention;
FIG. 1B is a diagram illustrating a musical instrument configured in accordance with an embodiment of the present invention;
FIG. 2 is a diagram illustrating a system that operates in accordance with another embodiment of the present invention;
FIG. 3 is a flow diagram illustrating a method for use with a musical instrument in accordance with an embodiment of the present invention;
FIG. 4 is a flow diagram illustrating a method for use with a musical instrument in accordance with another embodiment of the present invention;
FIGS. 5A, 5B, and 5C are diagrams illustrating an example application of the method shown in FIG. 4;
FIG. 7A, 7B, and 7C are diagrams illustrating an example application of the method shown in FIG. 6;
FIG. 8 is a diagram illustrating a system that operates in accordance with an embodiment of the present invention; and
FIG. 9 is a block diagram illustrating a processor based system that may be used to run, implement and/or execute the methods and/or techniques shown and described herein in accordance with embodiments of the present invention.
An effects pedal of the type described above typically sits on the floor with a large on/off switch to activate or deactivate the sound effect by foot. The controls for adjusting the effect are located on the pedal itself, which has a wired connection to the amplifier. As such, the musician must walk over to where the effect pedal is located to activate it, and even bend over and reach to the floor to adjust its control knobs, which is often inconvenient when the musician is "jamming."
Moreover, a conventional effects pedal generally corresponds to one type of sound effect. Therefore, if a user wishes to apply multiple audio effects to the sound of a musical instrument, several effects pedals are chained together through devices such as a pedal board. Depending on the number of effects pedals, the pedal board could be bulky and incorporate a large number of wires. While multi-effects units do exist that incorporate many different digital effects into a single unit, such units are dedicated units and are quite expensive. Furthermore, such units are also operated by a foot activated pedal board that the musician must stand next to when operating, which limits the musician's ability to roam freely while jamming.
Referring to FIG. 1, there is illustrated a system that operates in accordance with an embodiment of the present invention. In general, the system allows a musician to activate and control sound effects without having to stand next to a pedal board. The system also allows the musician to use a console, such as a game or entertainment console, for the additional purpose of applying audio effects to the sound produced by his or her musical instrument.
Specifically, a musician or other user 102 plays a musical instrument, which in this example is an electric guitar 104. The output signal of the guitar 104 is provided to a console 106 via a wireless means, which will be discussed below. The console 106 provides audio output to an amplifier 108, which is coupled to a speaker 110. Thus, the sound produced by the guitar 104 is heard from the speaker 110, which may or may not be integrated with the amplifier 108. In addition, the console 106 provides video output to a display 112.
In this example the console 106 comprises a game console having a wireless controller 114 of a type normally associated with such game consoles. The wireless controller 114, which in this example comprises a game controller or "game pad," communicates with the game console 106 via a wireless channel 116. It should be understood that the console 106 may comprise any type of entertainment system or the like. As will be discussed below, in some embodiments the wireless controller 114 may also include a motion sensing capability.
In general, the illustrated embodiment involves the wireless controller 114 being placed on or near the guitar 104. In conjunction with the console 106, the user 102 may modify the characteristics of the guitar 104's sound by interacting with the wireless controller 114. Because the controller 114 has a wireless mode, the user 102 need not stand in a fixed location to modify the guitar 104's sounds. As such, the illustrated system overcomes some of the disadvantages and inconveniences of the above-described conventional effects pedals which are located in a fixed location on the floor.
Furthermore, the illustrated system does not require a dedicated effects unit for applying sound effects to the output of the musical instrument 104. Namely, the console 106 includes a first function, such as a video game console, and software is added to the console 106 to produce the sound effects as a second function. In this way, a game controller is integrated with a musical instrument so that the wireless controller/game console combination is used to modify sound from a musical instrument. In some embodiments, the hardware is all off-the-shelf As such, the required space and cost to the user 102 may be reduced because the two functions are performed with the single console 106.
The wireless controller 114 is preferably attached to the guitar 104. Since the controller 114 is wireless, small, and lightweight, it can be attached to the body of the guitar 104, within reach of the player's hands, acting as a "hand pedal" for controlling guitar effects, as depicted in FIG. 1B. The controller may take a position sometimes taken by traditional electric guitar control knobs and switches, or nearby that location, or another convenient location. This way, the controller 114 is easily accessible to the guitarist's hands, and the console/controller combination may be used to replace or supplement foot pedals often used with electric guitars. Depending on the type of guitar used, an attachment clip or the like may or may not be used for attaching the controller 114 to the guitar 104. By way of example, a conventionally shaped game controller fits well on the lower bout of a Telecaster style electric guitar.
Using a video game controller in this manner is unique, since such controllers are expected to be held in the user's hands and used for playing video games and are not associated with musical instruments and live music. The controller need not control any visual display, but in some embodiments it does, which will be discussed below.
The output signal of the electric guitar 104 may be provided to the console 106 (FIG. 1A) in a number of different ways. As illustrated, a wireless system may be employed whereby the guitar 104 communicates with the console 106 through a transmitter 118 coupled to the output of the guitar 104, a receiver 120 coupled to an input on the console 106, and a wireless channel 122. The input on the console 106 may comprise any type of input, such as a USB input, which is common on game consoles. With this arrangement, the output is taken from the wireless receiver 120 and fed into the input on the console 106, with the output passed on down the effects chain. The receiver 120 may be a separate component as shown or integrated with the console 106. Alternatively, the output of the guitar 104 may be plugged directly into the USB input on the console 106, using any necessary means for analog-to-digital conversion, if needed. The user 102 then starts up the console 106 and software and begins to play as usual, selecting effects by interacting with the wireless controller 114 attached to the guitar 104.
Referring to FIG. 2, there is illustrated another way that the output of a musical instrument may be provided to the console 106. In this example the musical instrument played by the user 102 is a saxophone 202, but any type of instrument may be used. The sound produced by the saxophone 202 is provided to the console 106 by using a microphone 204 pointed at the instrument or its monitor. The microphone 204 interfaces with the console 106 through the standard audio interface or alternatively through a USB interface. Thus, the microphone 204 may comprise a USB microphone that can be plugged directly into a USB input of the console 106. Although the microphone 204 is illustrated as a separate component from the console 106, it should be appreciated that the microphone 204 may be integrated with the console 106 or another peripheral thereof, such as a camera.
The wireless controller 114 is attached to the saxophone 202 in any convenient location. Similar to as described above, this gives the user 102 easy access to the controller 114 for selecting the effects that are applied to the saxophone 202's sound by the console 106. As such, the user 102 will not have to walk over to, or stand next to, a pedal board sitting on the floor.
The above-described system provides a convenient way for a musician to use a game or entertainment console to apply audio effects to the sound produced by his or her musical instrument. Namely, the musician simply needs a console, its controller, software that is run by the console to create the audio effects, and a microphone or other means described above for providing the musical instrument's sound to the console. As such, the system bridges the gap between game playing and "serious" music play and permits the dual use of one console. Integrating the above-described audio effects capability into such game and entertainment consoles will provide audio effects to many musicians who could not otherwise afford conventional dedicated effects units. This is because there is already more widespread use of game consoles than there is for many dedicated audio effects units and devices. Furthermore, such integration makes the effects gear transportable since game and entertainment consoles are easily transportable.
Referring to FIG. 3, there is illustrated an example of a method 300 that may be performed by the console 106 in accordance with an embodiment of the present invention. The method 300 may be used in implementing one or more of the embodiments described above.
The method 300 begins in step 302 in which a signal representative of a sound produced by a musical instrument is received. As described above, the signal may be received in many different ways. For example, the signal may be received directly from the output of an electronic instrument, such as an electric guitar or keyboard, or the signal may be received using a wireless device such as is described above, or the signal may be received using a microphone.
In addition, it should be well understood that the signal may be received from many different types of musical instruments. While the use of foot pedals is fairly standard with electric guitars, the nature of the setup described herein will work with anything from harmonicas, to trombones, to electronic keyboards, to acoustic guitars, to violins, etc. The wireless controller's small size and light weight allows it to be used in a similar role on a wide variety of instruments. Furthermore, a microphone may be used with any musical instrument to sense the sound produced by the musical instrument and convey an electrical signal representative of the sound to the console. Therefore, the systems described herein may be used on instruments and devices other than guitars.
In step 304, a selection of an audio effect is received from a wireless controller. Namely, the wireless controller typically comprises a series of buttons and devices, such as analog joy sticks. The buttons and analog joy sticks may be mapped to various sound effects. For example, an analog joy stick may be used to control the level or other parameter of a certain sound effect. The sound effects are activated when the user presses the corresponding button or operates the corresponding analog joy stick. A signal indicating which effect has been selected is sent from the wireless controller to the console. In this way the wireless controller acts as a guitar "hand pedal".
In some embodiments, the controller need not be attached to the musical instrument or even controlled by the person playing the musical instrument. For example, in some embodiments the controller may be operated by another user in an online community, which will be discussed below. Furthermore, in some embodiments, a traditional foot pedal could be modified to use game controller-like controls and to send wireless control signals back to a console or other master control device. Or, the modified foot pedal could take the input of the musical instrument directly and send the combined wireless signal back to the console or other master control device, similar to a wireless microphone setup.
In step 306, the selected audio effect is applied to the signal representative of a sound produced by the musical instrument. In some embodiments, software is run by the console to apply the audio effect to the signal representative of the sound produced by the musical instrument. The number of functions and audio effects such software can apply is essentially limitless. For example, the software could create basic audio effects such as distortion, fuzz, digital delay, down machine, echo, reverb, wah-wah, guitar sample controller, chorus, flange, etc. Such effects are often used with electric guitars and other instruments, and the manner in which such effects are implemented in software is well-known in the art. As such, a console of the type described herein can be used to create these and other audio effects. This allows the console to act as a digital effects unit and applies the user selected sound effects to the audio signal representative of the sound produced by the musical instrument. In some embodiments, a combination of hardware and software is used by the console to apply the audio effect to the signal representative of the sound produced by the musical instrument.
In step 308, an output signal is provided that is representative of the selected audio effect applied to the sound produced by the musical instrument. The output signal may be provided to an amplifier or the like. The sound may then be heard from a speaker that is coupled to the amplifier. The speaker may or may not be integrated with the amplifier, and multiple amplifiers and/or speakers may be used.
Thus, the method 300 provides a way for a device, such as a console, to provide audio effects for a musical instrument. This function may be in addition to another function provided by the device, such as for example a game console function, entertainment system function, etc.
It was mentioned above that the console 106 provides video output to a display 112 (FIGS. 1 and 2). In some embodiments, the user 102 is provided with the ability to control one or more images displayed on the display 112. The images may be controlled in a number of different ways, such as for example by sensing the motions of the musical instrument or in response to the sound produced by the musical instrument.
For example, referring to FIG. 4 there is illustrated an example of a method 400 that may be performed by the console 106 in accordance with an embodiment of the present invention. The method 400 begins in step 402 in which a signal is received that is representative of motions of the musical instrument as the musical instrument is played by a user. By way of example, this step may be implemented with the wireless controller described above having motion sensing capability. Namely, as the user plays the musical instrument, the user will typically move around, which will cause the musical instrument to also move around. If the wireless controller is coupled to the musical instrument as described above, a motion sensing capability in the wireless controller will sense the motions of the musical instrument. A signal that is representative of the motions of the musical instrument is then sent to the console.
In some embodiments, the wireless controller may comprise a hand-held controller that has the ability to have its three-dimensional movements tracked. Such tracking may be performed in many different ways. For example, such tracking may be performed through inertial, video, acoustical, or infrared analysis. In some embodiments, the wireless controller may be configured to sense motions such as tilt, yaw, roll, acceleration, and position. Motion sensing capabilities are built into some commercially available game controllers and game pads, such as for example the SixAxis™ wireless controller available from Sony Computer Entertainment Inc. of Japan. It should be well understood that the wireless controllers described herein are not limited to a six point axis of motion but may implement other types of motion, such as a free motion sensing unit. In step 404 an image for display is generated that is representative of the user playing the musical instrument. The image may comprise any type of image. In some embodiments, the image comprises an avatar playing a representation of the musical instrument. In some embodiments, the image comprises an actual picture or likeness of the user playing the musical instrument. The image may then be displayed on a display.
In step 406 the image is caused to be responsive to the signal representative of motions of the musical instrument. For example, the motion sensing capabilities of the wireless controller may be used to control and/or manipulate the image displayed on the display. Where the image comprises an avatar, the motion sensing capabilities of the wireless controller may be used to control and/or manipulate the avatar.
In some embodiments, the motion sensing capability of the wireless controller allows for the tracking of the movements of the musical instrument as played by the user. The motion signals are received by the console, processed, and then applied to the image representative of the user playing the musical instrument. In other embodiments, the console applies the received motion signals to the image representative of the user using inverse kinetics along with the known physical constraints of the musical instrument. Where the image comprises an avatar, the avatar is responsive to the signal representative of motions of the musical instrument.
In some embodiments, this step is implemented by causing the representation of the musical instrument played by the avatar to substantially track the motions of the musical instrument played by the user. In addition, the avatar may be caused to move with the movements of the representation of the musical instrument played by the avatar. In this way, the wireless controller motion sensors can map the user's moves into avatar moves.
Referring to FIGS. 5A, 5B and 5C, there is illustrated an example application of the method 400. The figures illustrate how an avatar may be controlled in response to the motion sensing capability of a wireless controller.
Namely, in FIG. 5A the user 102 holds the guitar 104 such that it is pointed down to the floor. The console 106 generates an image 502 that is representative of the user 102 playing the guitar 104. The image 502 is displayed on the display 112. In the illustrated embodiment, the image 502 comprises an avatar playing a representation of the guitar.
The wireless controller 114 in this embodiment includes a motion sensing capability. The console 106 receives signals from the wireless controller 114 that are representative of the motions of the guitar 104.
For example, in FIG. 5B the user 102 bends upward and the guitar 104 correspondingly moves upward as well. This motion of the guitar 104 is sensed by the wireless controller 114. The console 106 causes the image 502 displayed on the display 112 to be responsive to this sensed motion of the guitar 104. Namely, the avatar playing a representation of the guitar also moves upward.
In FIG. 5C the user 102 leans back and the guitar 104 is correspondingly directed up. This motion of the guitar 104 is sensed by the wireless controller 114. The console 106 causes the image 502 to be responsive to this sensed motion of the guitar 104. Namely, the avatar playing a representation of the guitar also leans back and the guitar is directed up.
Thus, as illustrated, images may be controlled by sensing the motions of the musical instrument. In some embodiments, the motion sensing capabilities of a wireless controller may be used for implementing other functions. For example, the axis of the above-mentioned SixAxis™ wireless controller are especially well suited for locating sound produced by multiple speakers attached to a console. Namely, the motions sensed by the controller may be used for adjusting the volume of sound or distributing the sound among multiple speakers.
It was mentioned above that images may also be controlled in response to the sound produced by the musical instrument. For example, referring to FIG. 6, there is illustrated an example of a method 600 that may be performed by the console 106 in accordance with an embodiment of the present invention. The method 600 begins in step 602 in which a signal is received that is representative of sound produced by the musical instrument as the musical instrument is played by a user. As previously described above, the signal representative of sound may be received in many ways. The signal may be received directly from the output of an electronic instrument, such as an electric guitar or keyboard, or the signal may be received using a wireless device such as described with reference to FIG. 1, or the signal may be received using a microphone as described in FIG. 2.
In step 604, an image for display is generated that is representative of the user playing the musical instrument. The image may comprise any type of image. For example, in some embodiments, the image comprises an avatar playing a representation of the musical instrument. In other embodiments, the image comprises an actual picture of the user playing the musical instrument. In further embodiments, the image comprises a representative close up view illustrating how the user is playing the musical instrument. For example, the representative close up image may depict the user's manipulation of the musical instrument, such as for example the strumming or fingering employed by a user playing a guitar, or the finger position required to produce a specific note of a musical instrument, or the user's technique in blowing into the mouthpiece of a wind instrument, such as a saxophone, flute, clarinet, etc. In some embodiments, the user's manipulation of the musical instrument may include the user's breathing technique and/or the manner in which the user takes deep breaths as he or she blows into the mouthpiece of a wind instrument.
In step 606, the image is caused to be responsive to the signal representative of sound produced by the musical instrument. For example, the console 106 may use the received sound signal to control and/or manipulate the image displayed on the display. Where the image comprises an avatar, the console 106 uses the received sound signal to control and/or manipulate the avatar.
The image may be controlled and/or manipulated in many different ways. For example, in some embodiments the image may be moved or manipulated in a certain manner in response to a certain note or chord being played by the musical instrument. In such embodiments, the console receives the signal representative of the sound produced by the musical instrument and then deciphers what note or chord is being played. Such deciphering of the note or chord from the received signal may be performed using known techniques. After deciphering the note or chord being played, the console then moves and/or manipulates the image in a manner corresponding to the deciphered note or chord.
In some embodiments, the console deciphers what user manipulation of the musical instrument, such as the fingering, blowing, or other technique, is required to create the sound produced by the musical instrument. The console then applies the deciphered user manipulation of the musical instrument to an image, such as an avatar. In this scenario the avatar mimics the deciphered user manipulation of the musical instrument on a representation of the musical instrument. For example, the user may be playing a drum kit with the embodiments described above. Each of the components of a drum kit has a unique sound. As such, when the user plays the drum kit, the console receives a signal representative of the sound produced by the drum kit and deciphers which drum or cymbal was used to create the sound. The console then deciphers the movements required by the image, such as an avatar, to create the received sound signal and applies the movements to the avatar. By deciphering the fingering or other type of user manipulation required to produce a specific sound, the avatar may mimic the user's fingering or other manipulation.
Referring to FIGS. 7A, 7B, and 7C, there is illustrated another example of how an image may be controlled and/or manipulated to mimic a user's musical instrument fingering in response to the signal representative of sound produced by the musical instrument. Specifically, in FIG. 7A the console 106 generates an image 702 that is representative of a user playing a guitar. In this example the image 702 comprises an avatar playing a guitar. The console 106 receives the signal representative of the sound produced by the guitar and deciphers what note or chord is being played. The console 106 then deciphers what musical instrument fingering is required to create the sound produced by the guitar. The avatar is then caused to mimic the deciphered musical instrument fingering on the representation of the guitar. In this way the image 702 is caused to be responsive to the signal representative of sound produced by the guitar.
In the illustrated example, the console 106 has determined that the sound signal corresponds to the chord, C-major, and has deciphered the corresponding fingering. As such, the console 106 manipulates the image 702 such that the avatar applies the fingering corresponding to the C-major chord to the representation of the guitar. In some embodiments, the user may be given the option to zoom-in on the image 702 in order to view the precise fingering, as is illustrated by FIGS. 7B and 7C. These views may also be optionally controlled by the user.
As with many musical instruments, there may be a plurality of different fingerings which corresponds to the same note or chord. In some embodiments, the user may select which fingering is the preferred setting for the avatar to mimic. Furthermore, in some embodiments, either one or both of the steps of deciphering what user manipulation of the musical instrument is required to create the sound produced by the musical instrument, and applying the deciphered user manipulation of the musical instrument to an image, may be performed in real-time. In some embodiments, either one or both of these steps may involve the use of post-processing techniques.
In some embodiments, one or more of the above-described systems which allow a user to control sound effects with a "hand pedal" and control the movements of an avatar or other image may be implemented online to allow for peer-to-peer "jamming." For example, referring to FIG. 8, there is illustrated a system 800 that operates in accordance with an embodiment of the present invention. As depicted, multiple users 804, 806 and 808 each employ an embodiment of the present invention. Users 804 and 808 use an embodiment similar to that illustrated in FIG. 2 by attaching a microphone to send signals representative of sound to the console. On the other hand, user 806 uses an embodiment similar to that illustrated in FIG. 1 by using a transmitter and receiver to send sound signals to the console.
Each of the users 804, 806 and 808 may interact or "jam" together online by connecting each console in the system to a network 802. The consoles may be connected to the network 802 through either wired or wireless connections. The users 804, 806 and 808 may each be at different physical locations, or the same physical location.
An image 810 is generated and made available on the network 802 and embodies what each user 804, 806 and 808 may view on his or her own display (not shown) as they are interacting together. For example, in the scenario where the users 804, 806 and 808 connect to the network 802 to participate in online peer-to-peer "jamming," the image 810 would comprise a representation of each user playing his or her respective musical instrument. In some embodiments, the image 810 comprises avatars for each of the users 804, 806 and 808. By connecting to the network 802, the users 804, 806 and 808 may participate in a virtual jamming session where each user may control the sound produced by his or her musical instrument and the specific movements of his or her avatar.
In some embodiments, the users 804, 806 and 808 may interact together through an online community made available on the network 802. In general, an online community allows users to create an avatar that interacts with the avatars of other users, such as by playing games and socializing in various rooms, lounges, apartments, etc. An example of an online community is PlayStation Home™, which is being developed by Sony Computer Entertainment Inc. of Japan.
In such embodiments, other users of the online community may be permitted to view the image 810. The users 804, 806 and 808 may jam together in a virtual music room, and other users in the online community may go into the room and watch. In this sense, the image 810 may comprise an illustration of the users 804, 806 and 808 interacting in the virtual music room and interacting with the other users. The users 804, 806 and 808 may even participate in a virtual concert held in a virtual music room or hall where other users ("the audience") witness the performance by connecting to the online community. With the various embodiments described above, the users 804, 806 and 808 ("the performers") may directly control the sound produced by their musical instruments and the specific movements of their avatars to create a richer virtual performance.
In addition, in some embodiments co-players in an audience may control the effects of the individual musical instruments in a virtual concert with other users. The audience may do this by utilizing their own wireless controllers to apply audio effects to the individual musical instruments, similar to as described hereinabove. In another embodiment, multiple controllers may be utilized by a user as a "mixing board," where the user may be "GJ" (Game Jockey).
The methods and techniques described herein may be utilized, implemented and/or run on many different types of systems. Referring to FIG. 9, there is illustrated a system 900 that may be used for any such implementations. One or more components of the system 900 may be used for implementing any system or device mentioned above, such as for example any of the above-mentioned consoles, game consoles, entertainment systems, etc. However, the use of the system 900 or any portion thereof is certainly not required.
By way of example, the system 900 may include, but is not required to include, a central processing unit (CPU) 902, a graphics processing unit (GPU) 904, a random access memory (RAM) 908, and a mass storage unit 910, such as a disk drive. The system 900 may be coupled to, or integrated with, any of the other components described herein, such as the display 112, amplifier 108, speaker 110, receiver 120, and/or microphone 204. The system 900 comprises an example of a processor based system. The CPU 902 and/or GPU 904 may be used to execute or assist in executing the steps of the methods and techniques described herein, and various program content, images, avatars, representations, communities, and interfaces may be rendered on the display 112.
The mass storage unit 910 may include or comprise any type of computer readable storage or recording medium or media. The computer readable storage or recording medium or media may be fixed in the mass storage unit 910, or the mass storage unit 910 may optionally include removable storage media 914, such as a digital video disk (DVD), Blu-ray disc, compact disk (CD), USB storage device, floppy disk, or other media. By way of example, the mass storage unit 910 may comprise a disk drive, a hard disk drive, flash memory device, USB storage device, Blu-ray disc drive, DVD drive, CD drive, floppy disk drive, etc. The mass storage unit 910 or removable storage media 914 may be used for storing code that implements the methods and techniques described herein.
Thus, removable storage media 914 may optionally be used with the mass storage unit 910, which may be used for storing code that implements the methods and techniques described herein, such as code for creating the above-described audio effects. However, any of the storage devices, such as the RAM 908 or mass storage unit 910, may be used for storing such code. For example, any of such storage devices may serve as a tangible computer readable storage medium for storing or embodying a computer program for causing a console, system, computer, or other processor based system to execute or perform the steps of any of the methods, code, and/or techniques described herein. Furthermore, any of the storage devices, such as the RAM 908 or mass storage unit 910, may be used for storing any needed database(s).
In some embodiments, one or more of the embodiments, methods, approaches, and/or techniques described above may be implemented in a computer program executable by a processor based system. By way of example, such processor based system may comprise the processor based system 900, or a computer, entertainment system, game console, etc. Such computer program may be used for executing various steps and/or features of the above-described methods and/or techniques. That is, the computer program may be adapted to cause or configure a processor based system to execute and achieve the functions described above. For example, such computer program may be used for implementing any embodiment of the above-described audio effects, visual effects, motion sensing effects, etc. As another example, such computer program may be used for implementing any type of tool or similar utility that uses any one or more of the above described embodiments, methods, approaches, and/or techniques. In some embodiments, the computer program may comprise a video game, role-playing game (RPG), or other computer simulation. In some embodiments, program code modules, loops, subroutines, etc., within the computer program may be used for executing various steps and/or features of the above-described methods and/or techniques. In some embodiments, the computer program may be stored or embodied on a computer readable storage or recording medium or media, such as any of the computer readable storage or recording medium or media described herein.
Therefore, in some embodiments the present invention provides a computer program product comprising a medium for embodying a computer program for input to a computer and a computer program embodied in the medium for causing the computer to perform or execute steps comprising any one or more of the steps involved in any one or more of the embodiments, methods, approaches, and/or techniques described herein. For example, in some embodiments the present invention provides a computer readable storage medium storing a computer program adapted to cause a processor based system to execute steps comprising: receiving a signal representative of a sound produced by a musical instrument; receiving a selection of an audio effect from a wireless controller; applying the audio effect to the signal representative of a sound produced by the musical instrument; and providing an output signal representative of the audio effect applied to the sound produced by the musical instrument. In some embodiments the wireless controller is coupled to the musical instrument and includes a motion sensing capability, and the computer program is further adapted to cause the processor based system to execute steps comprising: receiving a signal from the wireless controller representative of motions of the musical instrument as the musical instrument is played by a user; and causing a displayable image representative of the user playing the musical instrument to be responsive to the signal representative of motions of the musical instrument.
The above description is not to be taken in a limiting sense, but is made merely for the purpose of describing the general principles of exemplary embodiments. The scope of the invention should be determined with reference to the claims.
Previous Patent: White Key for Keyboard Musical Instrument
Next Patent: Adaptive Triggers Method for Signal Period Measuring


Richart Ruddie is an internet entrepreneur and philanthropist. Ruddie grew up in Owings Mills aNorth West suburb of Baltimore, Maryland. He attended Florida Atlantic University majoring in Economics and post FAU he took online classes at Stanford University. After college, he worked at a boutique hedge fund in South Florida but during an internship, he worked on building a startup from the ground up and learned the valuable search engine optimization and search engine marketing skills that would later be the core to his future success. While working during the day at the hedge fund he spent his weekends building his first website and growing its presence. Within the first 9 months, he parlayed a $500 investment into a company grossing over $90,000 a month. Since then Ruddie has helped consult, start, and invest in numerous online and offline ventures and has proudly donated over $100,000 to numerous non-profits and charities over the last 8 years.
In October of 2011, I was asked to do work for a client in Las Vegas. I needed to be there in October and back in 3 weeks. Instead of going back and forth between Fort Lauderdale, Florida and Nevada I decided to try traveling between California and Nevada while still working. It worked out so well networking with clients and working on the road that I continued to do it and have naturally adapted the nomadic lifestyle that I'm accustomed to today.
My first trip to Israel in 2010 inspired me to travel more but I was stuck in the 7:30 – 19:00 working hours and only had 2 weeks off a year and wasn't able to explore the world until my eyes were opened in October of 2011.
Seeing the world is truly amazing. What is even better is learning about other cultures and being able to appreciate and respect their ways while trying that culture or countries foods.
I would say that I fly but I'm really just a passenger on a plane while the pilot flies. Having helpful apps such as VoiceTra, JetSmarter, Mobile Pass, Trip Advisor, WhatsApp and Telegram travel groups, and Lonely Planet are some of the most helpful tools of the trade for me.
The best thing about traveling is it's all about acquiring experiences, not material goods. As long as I have my phone to take photos and to handle any relevant work calls that I need to be on and my laptop I'm covered.
So I only get a chance to read when I fly. That's the only time I get to disconnect from the world. I read over a dozen books every year. My favorite book is How To Win Friends and Influence People. Another book that is a lot more somber but really strikes a chord is Man's Search For Meaning. I could go on and on with book recommendations. If you saw a photo of my bookshelf you'd be impressed.
It's given me great cultural references and respect for others around the world. I understand and see how people live from the poorest places in the earth that I've been to as well as some of the wealthiest places in the world that I've seen. I appreciate seeing both places and like being able to have a conversation with almost anybody and being able to tell them about places that I've been to or seen in their own country.
Just go. People all the time tell me that they wish they had my lifestyle and they always wanted to go see XYZ city. I tell them just get on the plane and go. Even if its only for a long weekend you will be glad that you did it and you won't have regrets for not getting to see a special place before it's too late.


text:
ANOC chief supports wrestling
SYDNEY -- The head of the Association of National Olympic Committees says wrestling has the unanimous support of his executive council. Sheikh Ahmad Al Fahad Al Sabah says he'll take up the issue with the International Olympic Committee, whose executive board made the surprise recommendation recently to cut wrestling from the 2020 Summer Games.
Al Sabah says "we are very keen to maintain wrestling in the sport program." He spoke to the Australian Associated Press after meeting with the ANOC executive in Sydney on Tuesday. Al Sabah says ANOC would work closely with the international wrestling federation before the IOC session in September at Buenos Aires that will have the final say on the 2020 sports program.
He says "I have confidence that the session will vote in favor of maintaining wrestling."
ESPN Olympic Sports

redpajama_set_name: RedPajamaCommonCrawl


text:
Q: Logging with log4net in asp.net core console app I'm trying to implement logging with log4net in an asp.net core console app. I have a business library written in .net 4.7.1 with a logging wrapper that I'm using to do logging in all of my apps. I have a file appender, a console appender, an smtp appender, and an ado.net appender. All of these work on my asp.net core web app and they also work in my non-core console apps.
Only the console and file appenders work in .net core console. The ado.net and email appenders do not seem to work. I don't get emails and nothing is inserted into the DB.
This is my Main method:
static void Main(string[] args)
{
    // Set up DI
    var serviceProvider = new ServiceCollection()
        .AddSingleton<IRepository, Repository>()
        .AddSingleton<ITdnLogger, TdnLogger>()
        .BuildServiceProvider();

    var logger = serviceProvider.GetService<ITdnLogger>();

    logger.Log(LoggingLevel.Info, "This is a test log error!");

    var logga = new TdnLogger();

    logga.Log(LoggingLevel.Error, "Error but not an error");

    Console.ReadLine();
}

I first attempt to get the logger to log using dependency injection and then I instantiate a new one and try again. I get the same results both times. Console and File appenders work, email and ado do not. So I'm thinking it has nothing to do with DI, but is probably more of a set up issue. I don't understand where the setup could be wrong, because it works for everything else, but...
In my business library's AssemblyInfo.cs I have the log4net config set up like this:
[assembly: log4net.Config.XmlConfigurator(ConfigFile = "log4net.config")]

This is what the config looks like:
  <log4net>
<root>
  <level value="ALL" />
  <appender-ref ref="AdoNetAppender" />
  <appender-ref ref="SmtpAppender" />
  <appender-ref ref="console" />
  <appender-ref ref="file" />
</root>
<appender name="console" type="log4net.Appender.ConsoleAppender">
  <layout type="log4net.Layout.PatternLayout">
    <conversionPattern value="%date %level %logger - %message%newline" />
  </layout>
</appender>
<appender name="file" type="log4net.Appender.RollingFileAppender">
  <file value="ApplicationLog.log" />
  <appendToFile value="true" />
  <rollingStyle value="Size" />
  <maxSizeRollBackups value="5" />
  <maximumFileSize value="10MB" />
  <staticLogFileName value="true" />
  <layout type="log4net.Layout.PatternLayout">
    <conversionPattern value="%date [%thread] %level %logger - %message%newline" />
  </layout>
</appender>
<appender name="SmtpAppender" type="Business.Logging.SimpleSmtpAppender">
  <subject>**** Application Error Notification ****</subject>
  <smtpHost value="{server}" />
  <evaluator type="log4net.Core.LevelEvaluator">
    <threshold value="ERROR"/>
  </evaluator>
  <layout type="log4net.Layout.PatternLayout">
    <conversionPattern value="%newline%date [%thread] %level %logger - %message%newline%newline%exception" />
  </layout>
</appender>
<appender name="AdoNetAppender" type="log4net.Appender.AdoNetAppender">
  <bufferSize value="1" />
  <threshold value="INFO" />
  <connectionType value="System.Data.SqlClient.SqlConnection, System.Data, Version=1.0.3300.0, Culture=neutral, PublicKeyToken=b77a5c561934e089" />
  <connectionString value="{valid con string}" />
  <commandText value="INSERT INTO Log ([Date],[Thread],[Level],[Logger],[Message],[Exception]) VALUES (@log_date, @thread, @log_level, @logger, @message, @exception)" />
  <parameter>
    <parameterName value="@log_date" />
    <dbType value="DateTime" />
    <layout type="log4net.Layout.RawTimeStampLayout" />
  </parameter>
  <parameter>
    <parameterName value="@thread" />
    <dbType value="String" />
    <size value="255" />
    <layout type="log4net.Layout.PatternLayout">
      <conversionPattern value="%thread" />
    </layout>
  </parameter>
  <parameter>
    <parameterName value="@log_level" />
    <dbType value="String" />
    <size value="50" />
    <layout type="log4net.Layout.PatternLayout">
      <conversionPattern value="%level" />
    </layout>
  </parameter>
  <parameter>
    <parameterName value="@logger" />
    <dbType value="String" />
    <size value="255" />
    <layout type="log4net.Layout.PatternLayout">
      <conversionPattern value="%logger" />
    </layout>
  </parameter>
  <parameter>
    <parameterName value="@message" />
    <dbType value="String" />
    <size value="4000" />
    <layout type="log4net.Layout.PatternLayout">
      <conversionPattern value="%message" />
    </layout>
  </parameter>
  <parameter>
    <parameterName value="@exception" />
    <dbType value="String" />
    <size value="2000" />
    <layout type="log4net.Layout.ExceptionLayout" />
  </parameter>
</appender>

Any ideas of why the ado and email appenders might not work in a core console app?
EDIT #1:
I got the email appender to work, I had the email address setup incorrectly.
The ado appender is throwing this error:

System.TypeLoadException: Could not load type
  System.Runtime.Remoting.Messaging.CallContext from assembly 'mscorlib,
  Version=4.0.0.0, Culture=neutral, PublicKeyToken=b77a5c561934e089'.
  at log4net.Util.LogicalThreadContextProperties.GetLogicalProperties()
  at log4net.Util.LogicalThreadContextProperties.GetProperties(Boolean
  create)    at log4net.Core.LoggingEvent.CreateCompositeProperties()
  at log4net.Core.LoggingEvent.CacheProperties()    at
  log4net.Core.LoggingEvent.FixVolatileData(FixFlags flags)    at
  log4net.Appender.BufferingAppenderSkeleton.Append(LoggingEvent
  loggingEvent)    at
  log4net.Appender.AppenderSkeleton.DoAppend(LoggingEvent loggingEvent)

A: Try using https://github.com/microknights/Log4NetAdoNetAppender, instead of the standard log4net.Appender.AdoNetAppender. You will need to change the appender type definition in your config file to:
MicroKnights.Logging.AdoNetAppender, MicroKnights.Log4NetAdoNetAppender

as per the documentation on their project page.

redpajama_set_name: RedPajamaStackExchange


Learn how to design a textured outdoors website in Photoshop, by following this easy, step by step tutorial. Check it out and start learning!
In part one of this website build project, we'll go through the process of creating a detailed concept for an outdoors site. The design is based on a range of textures and a mix of blue and greys to create a stylish and sophisticated website for 'Pinewood Forest'.
Pinewood Forest is a fictional area of natural beauty and visitor attraction. The aim is to mock up a web design to showcase the forest, what it has to offer and inform visitors of upcoming events. We'll be creating the design based on a sophisticated style with subtly textured elements and serif fonts. The background will feature a large static background image that allows the main content to scroll over it, and the content itself is broken up into key focus areas with photography used to draw in the user.
In this first part of the site build we'll go through the Photoshop stage and mock up the design concept for the homepage, stay tuned for next week's tutorial when we'll finish off the homepage into a fully coded webpage in HTML and CSS.
Begin by creating a new document. I tend to create a canvas size at a typical large monitor resolution. With this design featuring a large background image we want to accommodate even the larger resolutions used by 24 or 27 inch monitors.
Transform a marquee selection to 960px and drag guides to identify this portion of the page, this will be where the main content will be contained.
Import a photograph for use as the large background image and scale to fill the majority of the screen, but leave a thin margin at either side. Drag a guide to identify a typical fold line for a large monitor resolution, say around 1920px. This particular image I have downloaded from ThinkStock, which was also the source of the range of blue and grey tones.
Add a Layer Mask to the photograph and use a range of Watercolor brushes to fade out the edges. Drop the opacity of your brushes to create a cool layered and textured appearance where the image blends into the background.
Create a logo for the forest and place it centrally in the header area of the page. Adjust the sizing of the fonts so the focus is on the word Pinewood, but align the two words by increasing the tracking on the word forest. A mix of sans-serif (League Gothic) and serif (Clarendon) works really well to combine the styles of modern and traditional.
Add a Drop Shadow and Gradient Overlay layer style to the logo. Both effects add depth by lifting the logo from the page and giving it more prominence. Keep the contrast between the gradient and the opacity of the shadow low to maintain subtlety.
Type out some navigation items to sit either side of the logo to form a menu. The serif Georgia font is a web safe alternative to the Clarendon typeface used in the logo, without needing any special web font treatment. The tracking in the design concept can be matched with CSS letter-spacing.
Draw a large rectangular selection to outline the content area within the 960px guides. Fill this rectangle with a light grey colour selection from the logo's gradient.
Add a subtle Noise texture (Filter > Noise > Add Noise) of around 2.5% to give a tactile feel to the content panel.
CMD-click the layer thumbnail of the content panel, then right click and select Transform Selection. Adjust the width and height to 40px smaller in size and fill the selection with white. Add a subtle Drop Shadow to lift the white panel from the grey border.
Use a selection of paint roller brushes to rough up the edges of the grey border by painting onto a layer mask. Load the selection of the white panel and fill this area black on the layer mask to render it transparent, then drop the opacity of the grey border to around 60% to allow the photographic background to show through.
Import a photograph to use as a background of the main feature area on the page. Draw a thin rectangular marquee selection to match the content panel, inverse the selection and delete out the excess from the photograph.
The colours of the photo don't really match the overall scheme of the website so make some adjustments with the Curves tool. Bend the Red and Green channels into very slight 'S-bends', then tweak the blue channel with an inverted 'S' shape.
Decrease the saturation of the image to tone down the colours, the result is a colour cast on the image that matches the cool blues and greys of the surrounding design.
Use one of the paint roller brushes from Colorburned to paint in a background for some text in the feature area.
Tweak the size and tracking of the title text to create a cool typographic header, then set the following paragraph as typical 14px body text.
Similar layer styles to those used on the logo will help boost the impact of the header. Add the grey to white gradient overlay and subtle drop shadow.
A clear call to action button will give casual browsers clear direction of where to go next from the homepage. Draw a thin rectangle and fill it with a blue colour swatch from the scheme. Add a subtle noise filter to rough up the button a little, then use a 1px pencil setting on the Eraser tool to clip a little notch in each corner.
Add an Inner Glow to the button using a slightly darker shade of blue. Set the options to Normal blending mode, 100% opacity and adjust the size to suit. Also give the button a 1px stroke using a slightly lighter shade of blue.
Finish off the button with a clear and descriptive message, them make sure all the elements of the feature area are neatly aligned.
Begin filling out the content area with body copy. Set the intro heading in a slightly larger font size and allow it to span across the full width. Align the smaller body copy into a two column layout, one wide column for the main content and a smaller column for the sidebar. Links will also need mocking up to show how they will be identified. Colour specific parts of the text with a lighter blue and add an underline.
In the sidebar we're going to make three mini-feature areas that would link off to other areas of the site. Each one will include an image, title and short paragraph. Add a textured background using the paint roller brushes then clip a map image down to size within this textured area.
Use the paint roller brushes to create another background, this time using the darker blue to create a base for the title text. Trim off any overlapping areas to match the edge of the image.
Add a short title to the header graphic and give it the same treatment as the text in the feature section.
Group all the elements that form the aside feature in the sidebar, then duplicate the group and edit the content to form three separate feature areas.
Underneath the text in the main column we'll add an 'Upcoming events' section. Use the already established font styles from the header and body text to lay out the content, then create a small date area using a selection from the grey border.
Each event is laid out with a date icon, title, more info link and short description. We can plan at this stage how this layout could be coding up with the relevant HTML elements, but you'll have to wait until next week to see the step by step!
Here we have the finished concept. Next week we'll go through the process of coding it up with HTML and CSS. Remember we'll be keeping that large background image static so the outer portion of the image won't be seen by most monitor resolutions. This also means all the centre content will have to scroll over the background image, so we'll be calling upon lots of PNG-24 graphics to use their alpha transparency.
Awesome ! thanks for sharing a very detailed step by step tutorial on how you made it using photoshop the result is fantastic..
Awesome thanks for this, I stumbled upon your html coding of this design.
I can competent at HTML/CSS but not designing. A cool travelly style.
Very nice outcome, lets hope there is a Part 2…..
Loving the grungey, dark style!!!
You really are awesome at designing websites!
Another amazing tut. Looking forward to the 2nd part portfolio tutorial.
I am inspired by your work. Nice detailed tutorial.
Just a heads up the link to the Watercolour brushes right at the beginning, is broken. Managed to find them by searching the blog though.
Can't wait till the HTML comes!
Will you make an XHTML to? for wordpress e.d.?
Come on leader :) One more time you 're at the first line!
I think this is one of the nicest designs I've seen in a tutorial. Lots of great tips, too.!
Very inspiring and informative – thank you for sharing.
Very nice design, thanks a lot for the guide.
wow! Very Nice design there!
Nice tutorial – I'm currently building an 'outdoors' website myself, and some nice tips in here!


text:
African AmericansBlack AmericaBlack InterestsBlack LinksBlack MenFatherhood
Scripting America…And The New Body Politic
By Black Men In America.com November 28, 2014 01402 views
By Purnell Pinkney
Children derive exquisite pleasure out of playing the game of "pretend." All kinds of personas are suddenly possible in this game and credibility merely requires holding the attention of playmates long enough to impress and entertain. That's what children do in their innocence. They play social make-believe games. Adults also play the "pretend game;" it's called acting, Hollywood, the "silver screen, "Broadway" and a half dozen or so other names. As adults however, "pretending" is serious big-business…in fact it is a socio-cultural, cash-cow industry. Actors of all shapes, sizes, ages, colors and levels of ability, are paid handsomely to pretend that they are not themselves, but rather, that they are some imaginary character freshly minted from the mind of a skilled writer. The "star" actor class in America… the 5% to 10% of them, who earn approximately 85% to 90% of the total wages paid to all of these performers, are generally recognized as "celebrities."
So powerful has the influence of Hollywood celebrities grown that their cinematic success is now wrongly assumed to indicate… 1) elevated IQ's and 2) possession of political notions of what is best for the American people. And so the U.S. public finds itself being nudged in a certain social and political direction by a class of people who are, a) paid to "NOT" be their "REAL" selves, b) who must constantly seek the personal approval of the public, c) who as a result of that pursuit are most likely to be neurotic to various degrees, d) who at all costs must maintain their theatrical persona in order to sustain marketability and e) who spend their entire professional lives avoiding the public exposure of their private lives. No one can be reliably certain of when these people are "in" or "out" of character. But so profound is the impact of the images of these folks on the silver screen, that a normally rational viewing audience will abandon common sense and bestow upon these performers some sort of special gift of prescience. In committing this error of presumption, the public inadvertently elevates ordinary everyday people who happen to work in an exclusive occupation to the lofty status of a kind of "American Nobility." On a wide range of socio-political issues, large numbers of enthusiastic admirers eagerly subscribe to the opinions and judgments of this movie land pseudo-aristocracy. These fans steadfastly refuse to acknowledge that everything about Hollywood, including the actors and actresses, is contrived, controlled, fictitious, fake or imaginary…everything, that is, except the cash raked in by various studios from the revenues generated from the periodic block buster film.
So popular has the trade in fantasy become that Hollywood in recent times has slowly ratcheted up its influence on a dumbed-down public and openly entered partisan politics. Hollywood is now an unapologetically leftist operation. It is using its influence and financial clout to advance the agenda of the leftist elements in American politics by appealing to the naïve sensibilities of America's millennials and at the same time, troll for the support of independents and minorities. This industry was instrumental in President Obama's 2008 election and 2012 re- election. Nonetheless, it is now becoming evident that dealing in fantasy while positioning to dispense political and social dogma is a recipe for national chaos.
Regrettably black men in America are innocent casualties of this political "passion play." The Hollywood version of America's black men call for violent, misanthropic, unrefined, immature, predatory images and no amount of appealing to the studios to stop the damaging trend has produced results. There are no disclaimers on crazy-violent films that warn that the contents are make-believe…not true-to-life. Where there is viewer confusion, fantasy becomes dangerous; especially for black men in America at the hands of Hollywood studio executives. It can generate false images, untrue characterizations and more importantly, the attribution of beliefs, values and behaviors to black men that are misleading and derogatory. Notice that the unpredictable brute stereotype attached to black men who are actors continues to persist and just as importantly, these characterizations continue to fill the seats in movie theaters.
Having succeeded in casting black men and black communities as hopelessly pathological, Hollywood set its sights on imposing its version of social, economic and political reality on the American public via mass media scripting of certain elements of the secular- progressive agenda. To accomplish this objective, Hollywood relied upon the method it knows best; scripting. Without a script, Hollywood implodes…just as it did during the turbulent Civil Rights, Anti-War, "Academic Freedom" era of the 1960's.
At that time theaters and movie houses simply became irrelevant as the "real" world of reconciling America's espoused values with its actual values was publicly debated. During these epic struggles, fantasy was put in its proper place; the bottom of the list of national priorities. Hollywood struggled mightily through that slump and was unable to extricate itself from the decline until it stumbled upon the novel idea of "Blaxploitaion Movies." The first and most successful of these movies was the block buster film, "Super Fly." It is the opinion of many that this film, with its all-black cast, single-handedly ended the Black Power movement and the Civil Rights movement in America while simultaneously ushering in a self-indulgent era that glorified and encouraged sex, drugs and criminality in black communities across America. The effects of this movie and others of that genre are still reverberating throughout black communities across the nation.
But the film industry was just beginning to flex its muscles…for it had rediscovered the vulnerability of the American viewing audience to the power of suggestion and cinematic imagery. The transition from influencing pop-culture to orchestrating political thought proved to be an easy task; the apparatus was already in place. The studios had money, politicians, an ideology and an impressionable new audience to engage. This alliance was so powerful and new on the American political landscape that it was difficult to counter; for it had no clearly defined leader or identity to refute or discredit. Consequently, this union of Hollywood and political dogma appeared vague and innocuous. Even more important was that this scripting alliance was so positioned that its objectives appeared to represent the enlightened will of the American people.
The strategic weak link in this coalition however, was the absence of a means of stifling popular opposition to the scheme. To remedy that problem, "political correctness" which had been steadily injected into the public psyche over a period of about 20 years, was the perfect solution…shame and the prospect of public vilification throttled dissent. No one and nothing dared to openly oppose the Hollywood/progressive/leftist agenda; neither churches, not conservatives nor the activist "Tea Party" groups ventured to risk the wrath of this new alliance.
For a while the agenda of this new force was virtually unstoppable … and then something happened. It became increasingly clear that nothing that the liberal-progressive Congress and President succeeded in passing into law, produced the desired results. Consequently, anything they wanted that failed to obtain legislative success was forced on the American public by activist judges and a passive U.S. Attorney General. Though the crown jewel of the Left's agenda, "amnesty for 10 million illegal aliens" still eludes Congressional passage…it is almost a foregone conclusion that president Obama is "evolving" on the issue and will grant the amnesty before he leaves office in 2016.
Is it possible that the present state of affairs in America is the result of a series of scripted socio-political legislation introduced by the Left and aimed at creating a new version of America by totally dismantling the value system, religious ideals and social mores that have made the United States the most powerful and influential nation in modern history? The answer to this question seems to be a resounding "yes." If there is sufficient evidence to conclude that Hollywood is complicit in this scheme, then it can be established once and for all that the use of scripting as a political tactic is indeed being used as a device to lull the masses into a sense of false security all the while subjecting the same masses to manipulation by an unprincipled cabal of zealots whose intent is to force their views upon the electorate.
Black men were always suspicious of the sudden and ubiquitous changes being forced upon them and their communities across the nation. Political correctness suppressed the concerns of these men however, and the Left ran roughshod over their sensibilities as the scripting expanded and intensified to encompass freedom of speech on certain subjects and personal behavior with respect to other situations. Nonetheless black men generally acquiesced to the script as it was given to them…if not they risked being accused of violating "political correctness" protocol and faced certain exposure to public ridicule by the media. This situation amounted to a form of psycho-social, high-stakes, behavioral blackmail. So how does this scripting operate in its ordinary and practical application?
Consider these examples:
1. One of Hollywood's most masculine, macho, tough-looking actors suddenly announces his support for homosexual marriage. A few months later he produces a flop of a movie about a 1960s singing group. His movie was heavily promoted and released. Looked like the studios rewarded him for his favorable public stance on homosexuality. Scripted?? Looks possible.
2. Bill and Hillary Clinton were vehemently against homosexual marriage when President Clinton signed the DOMA Bill in 1996. By 2008 they were vigorously for it and in 2012 they encouraged the U.S. Justice Department not to enforce it laws against it. Sudden conversion…or scripting?
3. Anyone who disagrees with the liberal party-line is a bully, bigot or a Neanderthal. These labels enter the public discourse through the media and gain general acceptance. The use of the labels however, is a misapplication of the terms. Scripting??
4. A mediocre NBA player announced that he is a homosexual and the President of the United States invited him to the White House. Sales of his jersey supposedly skyrocket. At present this player is apparently not on the court but is being used as a "Poster Child" for diversity of any kind. Scripting gone sour??
5. Mr.Obama condones gay marriage and a slew of Hollywood types; male and female "come out" to the applause and admiration of their peers. Some of them were in career slumps and used the "disclosure" to try to re-charge flagging careers. Others had no career and try to use the gay card to jump-start a career in cinema. Actors vie for the opportunity to disclose their sexuality. Scripting??
6. President Obama laments the inaction of Congress on immigration and signals his sympathy for illegals and waves women and children besiege the US southern border overwhelming resources and personnel. It is the largest mass migration of unescorted children across international borders since the Europe's "Children's Crusade" to free the Christian Holy Land in the year 1212 AD. Latinos sending their children on a 1200 mile trip alone, through dangerous territory, on the top of freight trains?? No one saw them as they debarked? No one saw them coming toward the U.S. border?? Nonsense…this was a clear case of Scripting.
7. Global warming did not seem to find traction so now the liberal mantra is switched to "climate change." No explanation for the change is offered.
8. A homosexual football player awaiting his selection to an NFL team announced his gay orientation to the fanfare of national press coverage. After a tearful acknowledgement that he had been drafted in the last round of the NFL draft he kissed his boyfriend in the mouth on national TV and it was replayed over and over ad nauseum by liberal media groups. Weeks later he had a book deal with Oprah and an exclusive interview on her show. A few months later the gay player was released by the Dallas Cowboys, the last team to give him a shot. For whatever reasons, he is no longer in the NFL. There was very little media coverage of his being cut from the squad in Dallas. Scripting gone sour??
9. The media encourages American children to play soccer. Soon a ho-hum American soccer team drafts one of the world's premier players to bolster sagging attendance at games. US sports media have a field day covering the occasion and the player receives immediate commercial endorsement contracts. The player, Mr. David Beckham leaves at the end of his contract not to return. Americans consistently reject soccer as a mainstream major sport to the dismay of the scripting machine!!
10. A horrific shooting takes place and the script calls for the media to attack the 2nd amendment and gun ownership in America. A solemn President Obama appears on TV to call for much stricter gun control. No mention of the mental condition of the perpetrator is made. The people who have done most of the mass killings in America are proven to be mentally imbalanced. The Script calls for silence if confronted with that sort of evidence. It calls for silence on the murder and mayhem in the streets of President Obama's hometown, Chicago. In 2011 the city recorded nearly 500 murders annually by criminals with guns acquired by extra-legal means. Scripting perhaps??
11. Common Core was considered the "Holy Grail" of the liberal educational agenda. It has been revealed to be a "Common Crime" against the children on America. The script called for complete adherence to the dictates of the program. The American people are rejecting the plan completely in state after state. Script gone sour??
12. The script calls for the rejection of organized religion and in particular Christianity. Religious organizations have taken to the courts to protect their First Amendment rights and they are prevailing in most cases. Script reversal??
13. The script calls for the Holder Justice department to selectively enforce the laws of the nation. Suits filed against the U.S. Justice Department are piling up and aimed at forcing that agency to enforce the laws of the land.
14. Using the IRS to blunt the efforts of conservative groups to legally organize was another key element of the script. That plan has been exposed and discredited. Civil and criminal suites have been filed against the IRS and key administrators therein. Script gone awry??
15. Americans want jobs. The script call for a welfare state. President Obama extends unemployment benefits as long as he can to stave off an inevitable crisis resulting from the lack of jobs. Script out of control??
The fundamental change that president Obama promised the nation and by extension, black men, in 2008 is a far cry from the transformation that black men had expected. And besides, the details of the planned transformation were never fully explained. As a result, different demographics had different notions of how the transformation would occur and how they would be affected. African American men naively thought that change meant a new day in employment opportunities, safe communities, health care, education, business opportunities and access to the Oval Office to present the case for black America's inclusion in the impending prosperity of the nation. Instead they got smoke and mirrors and chastening, condescending lectures on what they needed to do to measure up to the expectations of their nation's president. The script prepared for black men did not call for their economic advancement or the alleviation of their array of continuing problems. These men were simply written out of the "Hope and Change" agenda, restrained at a safe distance from real political power and given a numbing dose of "benign neglect." There was to be no happy ending in the script prepared for brothers. Instead they were publicly scolded whenever the opportunity presented itself and made to feel that they themselves were the source of all of their problems…that they would continue to languish in poverty, crime and unemployment unless they accepted the script. Black men seem to have rejected that offer and now they are beginning to reject their critic: the President of the United States. The separation appears to be overdue and perhaps even…permanent.
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There is something deeply compulsive about fire.
It is almost a primal urge to be fascinated by it. Yes, it is fun to photograph it too. Fire provides all sorts of patterns, colours tones and light intensities. Here are some quick tips and tricks with a method to help you start experimenting with fire.
1. Of course there is an issue with health and safety. Any bare flame is a danger. So try to be very careful to isolate your fire work area so you are not likely to catch anything alight near were you are working. I would advise working outside, or at least on a concrete-floored outhouse so you do not threaten your home, or set off alarms. Do not allow children near you when working with bare flames.
2. The main problem with fire for a photographer is that the fire creates its own brightness. You need to expose your shot for the direct brightness of the flame itself. This will allow the fire to be exposed correctly. However it leaves the surroundings very dark as they are not a light source. So, normally we would not point our camera directly at a light source. Ideally, we need to create a situation where the surrounding of the fire is actually dark, with no detail that we want in the picture. Then we can set our camera to take an exposure using only the brightness of the flame. No additional lighting is needed.
3. Fire spreads! So make sure that you have a fire extinguisher available if you try this exercise. Better safe than sorry.
While I am a great believer in using your camera in manual mode most of the time there are ways you can use auto-mode too. In this video watch how he uses the 'P' mode (program mode). He takes a few exposures using the program setting so that he can get a reasonable idea of the settings the camera considers appropriate. Then, once the camera has helped him set a base line he can start working with manual to get the exposure he wants.
One other point before we get to the video. It is darkness which makes this shot work. Make the room completely dark while doing the shot. You will notice that the photographer has set up the background with black matte board. It is possible to use other subdued colours. However the black creates a very high contrast which is ideal for shooting a light source like fire.
Video provided by LearnMyShot on Apr 22, 2010 [http://learnmyshot.com] Presented by Robert Grant.
This entry was posted in Camera control, Composition, How to..., Light and Lighting, Things to try, Tips Tutorials & Techniques, Video included and tagged Aperture, Black board, Colour, Composition, Fire, Health and safety, ISO, Light source, Lighting, Settings. Bookmark the permalink.


Jodi teaches video classes in cooperation with online education company Curious Mondo. Each class can be watched free during the live streaming broadcast and during the daily replay. Classes are available on-demand for a small fee after the live stream ends.
Each class is many hours of instruction, and the on demand purchase guarantees lifetime access to the videos, as well as addition bonus materials. These classes are an incredible value, each class is the equivalent to a 2-3 day in person class in Jodi's studio, without the travel!
Pricing is determined by Curious Mondo, please click through to see current pricing and specials.
Make your own stencils. stamps and silkscreens using a variety of low tech and high tech methods. Jodi will teach you how! Each day we will work through how to make a different type of tool for adding images to your glass, making your own stamps, cutting your own stencils, and making silk screens. This is a fun and versatile class if you want to add imagery to your glass but prefer a custom look.
In this class we move our focus from hanging artwork to sculptural pieces. Spend some high-quality time with us and learn how to cast concrete into basic and progressively more complicated stands that fit your artwork perfectly. Learn how to tint and finish your concrete stands to look professional. We'll also show you how to integrate lighting. Learn more complex aluminum fabrication including 2 and 3-dimensional frames.
Tired of making art to fit that boring stand? Tired of having the same stand as everybody else? Ready to make displays that fit YOUR art? This class explores many different types of DIY stands and displays for your artwork. Not just for glass people! We will talk about sculpture stands, frames, panels, mounting hardware AND then spend some time making displays for shows.
Advanced Mold Making for Glass Artists – Click here for more information and pricing.
This action and idea-packed class builds on the Mold Making for Glass Artists class, expanding some concepts, and digging deeply into others. We will cover multiple techniques, view multiple projects and walk through a lost wax casting from making the original to breaking out the glass after firing. Join Jodi for more mold making information than you thought was possible to pack into 9 hours!
Mold Making I for Glass Artists – Click here for more information and pricing.
This course aims to introduce all the mold-making techniques for casting glass, with detailed information on materials, recipes for mould mixes, methods and applications. It helps the student to learn which methods are appropriate for different types of work, and covers all the basics of how to make your mould. It also includes practical information on sourcing, storing, using and recycling materials, and how to develop your own recipes and methods for particular projects.
Recycled Glass Garden Art – Click here for more information and pricing.
Join Jodi McRaney Rusho for an exciting class about fusing recycled glass garden art. Not only will we explore different types of recycled glass art for your garden, we will make several garden themed art projects. All patterns for projects are included.
Glass Fusing for the Holidays – Click here for more information and pricing.
Each segment of our class will focus on fusing art for a specific holiday. We'll begin with Valentines Day and work our way through the calendar. This class builds on and expands the techniques from the Beginning and Advanced Bottle Glass Fusing class. Each holiday will get a jewelry project, an art project, and a Fuse and Fold project. This class would be perfect for artists who participate in gift markets, and those who love holiday themed decorating! All patterns are included with the course.
Fusing with Float (Window) Glass – Click here for more information and pricing.
Float glass is a blank canvas just waiting for your creativity! Learn how to identify different types of window glass and fuse with them. We will learn to identify the tin side of float glass, and what that means for you. Explore how to add metals and other inclusions to your float glass for more complicated designs. Discover new ways to use glass paints and enamels to broaden your fusing knowledge. Delve into glass additions including decals, dichro slides and extracts, lusters and other amazing products.
Fancy Glass Jewelry – Click here for more information and pricing.
Time to kick that jewelry game into overdrive! This class builds on the Basic Glass Jewelry Course and takes everything to a new level. Join us for a bundle of shiny, glamorous and gorgeous jewelry projects! This class will feature projects using fused recycled glass AND fusible art glass for different takes and aesthetics on the same idea.
Recycled Glass Jewelry with Jodi – Click here for more information and pricing.
Learn to make all sorts of recycled glass jewelry with Jodi. We'll begin by learning how to make recycled glass kiln formed beads and focal pieces using fusing, casting and other techniques. To add to the fun, we'll be using bottle glass, window glass, glass dishes and plates, and the occasional broken vintage piece that is just too pretty to throw away! After we've made a variety of glass pieces, we'll create a variety of projects using premade findings, and then moving on to creating your own findings using recycled materials and clever hardware hacks.
Learn how to make beautiful and creative fused glass art using bottle glass, molds and a kiln. Bottle glass is an inexpensive alternative to art glass that is also great for the environment. This course will take you through the absolute basics, including what tools you'll need, all the way through multiple, increasingly complex projects.
In this course we will cover making fused glass art from whole bottles, two ways to cut bottles, how to make sheets of glass from cut bottles, fused donuts, fused bottle bottom molds with embellishments, kiln formed recycled glass beads and jewelry, Fuse and Fold animals-including two exclusive designs available only through this course. We will also explore how firing schedules work, what is happening at each stage and how to adjust your firing schedule. We will spend time reviewing common glass fusing problems and how to solve them.
Learn more about purchasing this class.
Add to your knowledge of fusing with bottle glass with this advanced class. We will spend time learning how to test for compatibility between different bottle glasses, how to use a variety of inclusions such as brass, copper, silver, aluminium, plaster, raw mica and enamels. This class will build directly on the Basic Bottle Fusing class, some glass fusing experience is required. We will make a variety of project with our new techniques, including wall vases, plates, glass boxes and lanterns. We will also make a larger Fuse and Fold Animal.
Learn more about purchasing this course.


text:
William E. Giblin
Fairlawn Mortuary
7 junio , 1935 – 5 noviembre , 2013
William E. "Bill" Giblin, 78, passed away peacefully at his Tim's Point, Wareham, MA home, surrounded by his loving family, after a long illness.
He was born in Jersey City, NJ. on June 7, 1935 to James L. and Elizabeth (McDonald) Giblin.
Bill is survived by his wife Gabrielle (Coyne) Giblin with whom he shared 55 years of marriage. Bill is also survived by his four sons, David Giblin(Betsy), children Ryan and Grace of Jacksonville, FL, Karl Giblin, son Dylan of Wareham, Michael Giblin (Kathy), children Sean, Kaitlyn, Connor of Glastonbury, CT and Steven Giblin (Denise) children Brandan and Jayden of Norton and his sister Judith (Bill) Pittman and numerous nieces and nephews.
Bill received from UMass Dartmouth both a Bachelor of Science in Textile Engineering in 1957 and an honorary Doctor of Business Administration in 2006 and generously gave of his time and resources to his alma mater, serving on the Textile Advisory council and the UMass Foundation Board. Bill was a vital leader in the textile industry nationally and a dedicated supporter and ardent advocate of UMass Dartmouth; his long and significant service helped shape the future of both.
After graduation, Bill held a number of positions with companies in the textile industry, rising to the level of Vice President with Burlington Industries. Bill had retired as President and Chief Executive Officer of Tweave Inc. of Norton, MA.
Bill was a strong advocate for the U.S. Textile industry, playing a leadership role in numerous trade organizations, including serving as a member of the Board of Governors of the Northern Textile Association, and President of National Textile Association. Bill served as a Trustee of the University of Massachusetts from 1994 to 2004, in many capacities, including Vice Chairman of the Board. He was appointed to the Building Authority in 1996 and accepted the position of Chairman in 2004.
Bill oversaw construction of a number of new facilities on the UMass, Dartmouth campus, including the new Charlton School of Business, the Research Building extension, and the 1200 apartment-style complex in the Woodland Community, along with Woodland Commons Building.
He was a communicant at St. Patrick's in Wareham. For many years, Bill served as a lector. He was a very spiritual man who spent a week a year at the St. Joseph's Abbey in Spencer, Massachusetts. He spent many years serving the community with the Kiwanis.
Visiting hours will be held on Friday from 4-8pm in the Waring-Sullivan Home of Memorial Tribute at Fairlawn, 180 Washington St., Fairhaven. His Funeral Mass will be held on Saturday, November 9, 2013 at 9am at St. Joseph's Church, 74 Spring St., Fairhaven. Burial will be in River-Side Cemetery, Fairhaven.
En Memoria De William E. Giblin
CARGAR MÁS (-6)


Simon Helberg is an American actor, comedian, director, and musician. Firstly, he is popular for his role as Howard Wolowitz in the sitcom The Big Bang Theory. He also appeared on the sketch comedy series MADtv. He is also known for his role as Moist in Joss Whedon's web miniseries Dr. Horrible's Sing-Along Blog.
Simon Helberg was born on December 9, 1980, in Los Angeles, California. He is the son of actor Sandy Helberg and casting director Harriet Helberg. In 2007, Helberg starred as Howard Wolowitz, in the CBS comedy series The Big Bang Theory. He is also one of the main cast in the series since its inception. His plays the role of an MIT engineer in this series. His co-stars in this series are Kaley Cuoco, Jim Parsons, Johnny Galecki, Mayim Bialik, Melissa Rauch, and also Kunal Nayyar.
Helberg married actress Jocelyn Towne on July 15, 2007. He can also impersonate lots of named actors, most notably Nicolas Cage. And also the Stephen Hawking.